Her 2020 book Glitch Feminism, a manifesto for finding gender and identity liberty through technology (surveying a genderqueer generation of internet-friendly artists such as Juliana Huxtable, Sondra Perry and boychild), is a mainstay reference for artists, its influence growing with each new translation. Meanwhile Russell is working on a new title, Black Meme, to be published next year, tracing how the dissemination and communication of Black imagery and culture has evolved. Russell’s interests are writ large at The Kitchen in New York, where she has been director since 2021, the institution operating under a manifesto that proclaims it is ‘QTPOCIA+ driven, centered, and celebrated’, evident in events ranging from an archival retrospective of artist group Red, White, Yellow, and Black (the collective’s name alluding to its members racial identities), and Matthew Lutz-Kinoy’s Filling Station, a ballet performed at a local petrol station and at Dia Beacon, alongside a solo show of the American artist at the institution’s offsite loft space.